4. Wuthering HeightsEmerald Fennell's fearless reinvention of Emily Brontë's 1847 novel is not for Brontë purists, but it is an exhilarating take on the book and a striking example of Fennell's typical artistry and daring. Margot Robbie and Jacob Elordi are fiery as Cathy and Heathcliff, the classic lovers made for each other but separated by class. Their connection is at once frankly sexual, romantic and caustic in the cruelty they often display toward each other. With that cruelty, Fennell restores the vehemence often overlooked in Brontë adaptations. Departing from prettified period pieces, the film's visual style is an enticing kaleidoscope of colour and fashion. Fennell drops in some comic moments, and at times dares to be over the top (Heathcliff on horseback, Elordi's bad wig flying in the wind) but its excesses are a small price to pay for such ambition. However much Fennell toys with the details – and why not? the book still exists – she captures the essential enduring passion of Wuthering Heights and its class-bound time. (Caryn James)
The classic novel comes to life on the big screen once again, this time from Promising Young Woman and Saltburn director Emerald Fennell, and with Margot Robbie and Jacob Elordi in the lead roles. Fennell, an Academy Award winner for her work on Promising Young Woman, has both big fans and big detractors at this point—but her take her, while book purists haven't been thrilled, is a big, visually stunning epic romance. Robbie and Elordi are both up to the task as well, bringing a charged energy to roles that really need it. Alison Oliver, who recently shined on HBO's Task, is another major highlight in a supporting role. An original soundtrack from Charli XCX helps to set the anachronistic mood and feels like a real cherry on top. (Evan Romano)
Major improvements to a public footpath used by thousands of visitors every year have been completed in Haworth.The footpath, which links Weavers Hill car park with Main Street, had become uneven and hazardous but has now been tarmacked to provide a more accessible surface.Thousands of people visit Haworth every year from across the globe to walk in the footsteps of the Brontë sisters, who lived in the town in the early 19th Century.A Bradford Council spokesperson said: "This upgraded footpath strengthens an important link in the heart of Haworth, supporting a safer and more inclusive access for those who visit and enjoy this much-loved village."Bradford Council A tarmacked footpath with a fence on one side and green fields on the other. It is a sunny day in a semi-rural areaBradford CouncilThe path had become unsafe but is now accessibleThe path had become unsafe due to root damage from several trees, as well as debris and broken fencing that had started to encroach on to the path and the overhead trees, which were affected by Ash Dieback.Bradford Council removed the unsafe trees and collaborated with local allotment tenants and the tenant of the neighbouring paddock to clear the path's border creating a 5ft (1.5m) wide route.The work was paid for with money from the West Yorkshire Combined Authority's City Region Sustainable Transport Settlement. (Grace Wood)
He was born in 1825 and for most of his life lived in a cottage at Buckley Green, near Stanbury.His loom was in the room upstairs, as it had more windows and he needed as much light as possible to see when weaving. It was also where he slept, and the bed end almost rested against the loom.He bought his own warp, carried it home over his shoulder and set it up on the loom by tying each warp thread on to those on the previous one. Once a new warp had been ‘gated’, he would then prepare the weft. This was bought in hanks, and he wound it onto pirns to go in his shuttles.One day a young man called Albert Kay, from Nelson in Lancashire, called at Timmy Feather’s cottage in Buckley Green. An account of his visit was subsequently reported in the Nelson Leader.Timmy was then in his 80s and as he was the last handloom weaver in the district, had become something of a celebrity. People often called and regularly asked to see his handloom and watch him weave. Albert was no exception and Timmy invited him upstairs to look at the loom. However, it was Sunday and being the Sabbath he said “I wod ’ave woven yer a bit of it had it bin a wark day but I ne’er weave at Sunday.”Returning downstairs Albert, no doubt disappointed, asked him if he remembered the Brontës. “Knew ’em all,” he replied. “I was baptised wi’ old Patrick. My mother used to tell me that when he splashed watter on my face I bawled like a cawf. Aye and I went to school in’t lane there beside churchyard and were taught wi’ Charlotte.”Asked what he thought about her, he said: “Well she was a little bit of a thing, about size o’ six penneth o’ copper. A teeny, little woman wi’ least hands that I’ve ever seen. And when it was said the parson’s Charlotte had written a printed book nobody believed it a first until fine folk in carriages came up cobbles in village street.“Aye and I knew Emily, but I never liked her. She were taller and darker than the others and she would pass yer in street and never look at yer, just as if you were a stone. I used to pass her on’t moor bottom when I was going to Haworth, but she never turned her head sideways. She always seemed to be thinking and muttering to hersel’.“Lass I liked best wer Anne, she allus had a smile and a word for a child or dog. But like ’em all she faded away. Did I know Branwell, ye ask? Aye, I’ve supped ale with him and John Brown in’t Black Bull, aye mony a time. He finished up wild, but everybody liked him. Last time I saw him in’t street his hair were flying and he looked demented. Poor Branwell – his was a wasted life.“Aye, I remember all to the last. I saw Charlotte that day when she came out to be wed in’t church, and she looked like a lily. I saw her carried out of t’old parsonage feet first not long after. And there weren’t many dry eyes in Haworth that day.“Last of all, I used to see old Patrick, lonely and desolate standing up in’t pulpit, while down below, lay his wife and five childer. It was a pathetic sight.”Old Timmy died at his cottage in 1910 and is buried in Haworth churchyard alongside the path that passes through it from the old school in Church Street. (Robin Longbottom)
%20(1).v1.jpg)
by Deborah WeissManchester University PressISBN: 9781526175717November 2024Women and madness in the early Romantic novel returns madness to a central role in feminist literary criticism through an updated exploration of hysteria, melancholia, and love-madness in novels by Mary Wollstonecraft, Eliza Fenwick, Mary Hays, Maria Edgeworth, and Amelia Opie. This book argues that these early Romantic-period novelists revised medical and popular sentimental models for female madness that made inherent female weakness and the aberrant female body responsible for women's mental afflictions. The book explores how the more radical authors - Wollstonecraft, Fenwick and Hays - blamed men and patriarchal structures of control for their characters' hysteria and melancholia, while the more mainstream writers - Edgeworth and Opie - located causality in less gendered and less victimized accounts. Taken as a whole, the book makes a powerful case for focusing on women's mental health in eighteenth- and nineteenth- century literary criticism.
Extensive repair works have been proposed for Oakwell Hall to remedy damage and ensure its longevity.The Grade-I Listed Elizabethan manor house, located to the northwest of Birstall, dates back to 1583 and is set in period gardens within a 110-acre country park. The hall was visited by Charlotte Brontë in the 1830s and was the inspiration behind 'Fieldhead' in her 1849 novel 'Shirley'. It is now a museum furnished as a family home of the 1690s which is owned and run by Kirklees Council.The local authority is seeking Listed Building Consent to carry out repairs to the fabric of the building to ensure it is fit to operate for years to come. The council has appointed AHR Building Consultancy to carry out the works that will “restore damaged and age-related issues” and ensure Oakwell Hall can remain open to the visiting public, according to a supporting statement.Several issues need to be addressed, including those regarding structural movement, water ingress and backlog maintenance issues primarily affecting the external fabric of the building. Some internal areas will also be impacted where either movement has affected the structure due to plumbing leaks, or wear and tear.As a result, works would include the removal of the existing roof to allow for the installation of a bat-friendly, modern breather membrane to shield the building from water ingress. The existing stone slate roof would then be re-laid, and gutters and down pipes replaced. Repairs would also be made to the external stone, existing lead glazing, and defective areas of the underground drainage system.A new, accessible toilet would be installed at ground floor level to the rear of the property, with its walls positioned to limit the impact on the existing historical structure. The existing first floor male and female toilets, which were a later addition, would be fully removed as part of the development.The supporting Design and Access Statement put together by AHR Building Consultancy says: “The proposals detailed in this statement have been developed to minimise the continuing deterioration of the building and to provide restorative repairs to ensure the upkeep of the building is retained.“Our proposals have been developed with a core aim to protect the existing building in character and appearance and with the aim of restorative repairs to the roof and external walls whilst also improving the facilities for visitors through the provision of an accessible toilet at ground floor level.“The works are confined to the building and will therefore have no impact on the wider building’s environment and external grounds.”A target date for a decision to be made was set for Wednesday, (April 8), though this is yet to be made, according to Kirklees’ planning portal. (Abigail Marlow)
Fri 10 April, 11am – 3pmBrontë Event Space at the Old SchoolroomThe Brontës didn’t just write wonderful stories; they also loved to spend time sketching and making amazing, tiny books. They also sewed a lot, but maybe not by choice…Join us to try your hand at one of the Brontës’ other pastimes!
West Lane Baptist Chapel, HaworthThe Brontës created fantastical worlds of Gondal and Angria, drawing inspiration from real life heroes, folktales as well as the wild moors that surrounded their home.Join us as we welcome artists and authors Wendy and Brian Froud to the Brontë Parsonage Museum for a truly magical afternoon.From their work on iconic films such as The Dark Crystal and Labyrinth to their wondrous books on pressed fairies and trolls, we will be discussing the art of world building, creating characters, drawing from nature and finding positivity through creativity.
Do book-to-film adaptations need to remain entirely faithful to their original source? I’m an English literature major and a classical literature fan; I used to answer with a resounding yes. Now, I’m not entirely sure. [...]It seems the newest adaptation of Emily Brontë’s Wuthering Heights by Emerald Fennell garnered similar reactions. Most notably, the decision to cast Jacob Elordi outraged as the role of Heathcliff outraged loyalists of the book, who is described in the novel as “dark-skinned.” Adding fuel to the fire were complaints regarding the removal of major plot sections and thematics, leaving behind only a vague memory of the original text.I used to believe you could measure the quality of a book-to-film adaptation by judging how faithfully it stuck to the source material. I admit, there's something extremely gratifying as a fan of a novel to watch scenes on screen that seem practically pulled directly from your imagination. [...]We need to make a distinction between movies aiming to present a faithful account of a novel, versus one merely inspired by a story: an adaptation versus a reimagining.There are countless adaptations of Wuthering Heights, but Fennell makes clear that her addition is not meant to be a replica at all, but rather a transformation. She told W magazine the quotation marks surrounding her title are an effort “to communicate as early as possible that [the film] could only ever be an attempt to take a tiny piece of the book and make sense of it.” While her film is informed by Brontë's novel, Fennell only wanted to depict her personal reaction to it: “I could only take my experience of it and try to translate it.” Fennell felt that it was impossible to adapt such a dense book in full. “I can't say I'm making Wuthering Heights. It’s not possible. What I can say is I’m making a version of it,” she said in a January interview. Fennell is reimagining the story and decidedly not recreating it. What good is it to judge the film as though it were?The film brings Fennell’s adolescent fantasies to life. She argues that “you can only ever make the movie that you sort of imagined yourself when you read it.” Art is influenced by a multitude of forces. Those include the author’s personal interests and experiences, as well as creations that came before it. Fennell explains that the film reflects her fantasies she had while reading the novel as a young girl. On the casting of Heathcliff, she recounts how she was “struck by how much [Jacob Elordi] looked like Heathcliff on the cover of my … cheap … paperback.” She created a world that didn’t cater to fans but to her younger self. Of course, then, the film felt void of anything except the romance between Cathy and Heathcliff. Clearly, Fennell was captivated by the portrayal of an erotic yet toxic love, and not so much by the nuances pertaining to class and culture.This is not to say that the source material carries no weight in its being the “original.” However, to demand a film be faithful to the book would assume that novels require an objective reading. I counter this notion with reader-response theory, which argues that a work gains meaning from the reader’s analysis rather than from the author. A novel’s significance becomes determined by readers’ unique experiences and perceptions. Fennell’s interpretation of Wuthering Heights is an example of how creators take a story and reimagine it according to a person’s singular vision and influences. [...]Fennell is transforming to even greater extremes, as she removes large chunks of the novel and condenses the narrative to focus solely on romance. However, these classics have remained so prominent because of their mutability; whether an adaptation or reimagining, a film cannot reflect one “correct” interpretation of a novel. As a fellow reader, Fennell has creative freedom to display the meaning she imposed on the novel.While we can (and should) raise our eyebrows at how Fennell’s film overlooked such a defining aspect of a story as Heathcliff’s identity, we must also accept the movie for what it is: a blockbuster that uses one of the most famous literary romances as its base, but not as its example.To only judge a movie on its closeness to the source material prevents us from truly analyzing films as creative and commercial entities. Yes, “Wuthering Heights” is a bodice-ripping blockbuster with two lead actors whom we’ve all grown tired of seeing. But that doesn’t mean it is void of creative and artistic vision.Similarly to her last film Saltburn, “Wuthering Heights” places heavy emphasis on extravagant and provocative visuals. The film’s tactile elements evoked a “physical feeling” both disturbing and immersive, such as the fireplace made out of hands and the bedroom walls that look like Cathy’s (Margot Robbie’s) skin down to the freckles and veins. I found the Victorian hairwork title sequence particularly creepy and bizarre. In a promotional video, Fennell reveals that it actually incorporates “some of Margot’s and Jacob’s actual hair,” to make the sequence “feel completely human.” The literal physicality incorporated into the design evokes a visceral disgust toward humanity. That was the intention. Neither Cathy nor Heathcliff is morally good, and their moments of wickedness are only further emphasized by these disgustingly human visuals.The costumes are likewise excessively extravagant. Designer Jacqueline Durran created pieces over-the-top and not adhering to any specific time period. Fennell told W the film’s “starting point is imagining you’re a young girl who doesn't really know what the Victorian or Georgian eras look like.” Her personal interpretation focuses on feeling above all. Emotion comes from visual indicators, rather than the story itself; depth of plot becomes secondary to the visual medium.If a film is only critiqued in comparison to the novel, we risk underanalyzing the artistic and narrative elements that make it a unique work. Creative freedom allows for innovation. Although tempting, it is unproductive to criticize filmmakers who expand beyond the original source.I was struck by how much “Wuthering Heights” diverged from Brontë’s novel. But it was clear that it had no intention of being a faithful adaptation. The movie was different from the book, but both are distinct works with different artistic intentions. There are still elements of “Wuthering Heights” and Frankenstein I do not like, but I’m expanding my view to see beyond the page. The films are not replacements for the novels. They only reflect our unique responses to them.This doesn’t mean that us literature fanatics are doomed to be left unfulfilled by every classic adaptation that comes out. Instead, we can utilize our critical understanding of literature to analyze how filmmakers reimagine the texts. Engaging in nuanced discourse around classic stories keeps narratives alive. Stories morph and shift with each retelling, just like our interpretations do. Maybe the book is still better than the movie, but the movie doesn’t need to be the book. (Fiona Pulchny)
With the recent release of Emerald Fennell’s adaptation of Wuthering Heights, and all the controversy surrounding the lack of faith to Brontë’s original material, it got me wondering. Who else has attempted an adaptation of classic literature, only for it to completely flop? [...]Wuthering Heights has had this same issue of erasure. As I’m sure that many of you now know, as this discourse has dominated my feed for the past two months, Heathcliff is explicitly framed as non-white, meaning the casting choice of Jacob Elordi is incredibly questionable. Although the title is put in quotation marks, to change such an important part of the novel should not be casually brushed aside. [...]Fennell’s Wuthering Heights may not have been pitched as a direct adaptation, and is promoted as her own interpretation, but it’s undoubtedly a questionable one. Replacing well-crafted prose about class, race and abuse with awkward sex between two people with poor chemistry is certainly a choice. It screams of ignorance. She didn’t need to use the IP to write a moody, sensual script set in gloomy hills, yet she chose to frame this as an adaptation. It could have just been an original title.When you tell your audience that you’re adapting a famed, well-beloved piece of classical literature, and completely change half of the novel’s themes, characterisation and plot, you have to expect them to be upset, and rightfully so. These adaptations can stretch too far into poor writing, disregard for respected, well-done material, and create the same thought in everyone’s mind – if it ain’t broke, don’t fix it. (Heidi Lewis)
Residents can now have their say on controversial plans to build one of the country's biggest windfarms overlooking Brontë Country.Calderdale Energy Park has opened a statutory public consultation into plans to set up 34 enormous turbines on moorland at Walshaw Moor, above Hebden Bridge. A series of in-person consultation events will take place at six locations in Bradford, Calderdale, and Lancashire are set to take place before the consultation closes on Wednesday, June 10.Critics say developers are rushing the process and ignored requests from Calderdale and Bradford Councils to postpone the consultation until after May's local elections.The plans have already sparked widespread concern and opposition over fears of damage to protected peat bogs, harm to wildlife, heightened flood risk, and the release of stored carbon. Campaigners also say the turbines would be detrimental to the landscape, heritage and tourism, disrupt access routes, generate significant construction traffic, and deliver minimal local benefit, despite assurances of green energy production.Calderdale Energy Park has confirmed that the number of turbines has been reduced from 41 to 34, asserting that the 240 megawatt (MW) project represents a vital opportunity to generate sufficient clean energy to power more than double the number of households in Calderdale.Calderdale Energy Park would have the capacity to generate sufficient electricity to power roughly 198,000 homes and cut national CO2 emissions by approximately 2.9 million tonnes throughout the wind farm's operational lifespan, according to proponents. The firm's plans also feature a designated Community Benefit Fund valued at £1.2million annually, offering financial backing for local groups and initiatives, they state.The company said it is now inviting public opinion and providing opportunities for additional feedback. It said feedback from an earlier, non-statutory consultation has influenced the proposals, including the decrease in turbine numbers.A fresh connection point at Bradford West substation has also been unveiled by the firm – it was previously announced that four connection points are planned altogether.Calderdale Council serves as a consultee and is classified as the "host" authority, but will not determine the application because it is being handled as a Nationally Significant Infrastructure Project. The Planning Inspectorate will scrutinise evidence, consider arguments and deliver a recommendation, but the ultimate approval or rejection will be decided at national Government level by the Secretary of State for Energy Security and Net Zero. (Elizabeth Mackley and John Greenwood)
%20(1).v1.jpg)
Brontë: A Performanceby Guiem Soldevila
Fri 10 Apr, 7:00pmSt Michael’s and All Angels Church, HaworthImmerse yourself in the Brontës' poetry like never before. Join us for this special concert of Guiem Soldevila’s latest album Brontë performed against the beautiful backdrop of St Michael’s and All Angels in Haworth, where the Brontë family vault is situated.Guiem Soldevila performs alongside vocalists Clara Gorrias and Neus Ferri, with spoken narration by Carme Cloquells and dance by Gêliah. All five artists are from Menorca, bringing together music, voice, word and movement in a shared creative journey.The programme includes musical interpretations of twelve poems: six by Emily Brontë, three by Anne Brontë and three by Charlotte Brontë. Drawing on folk influences, enriched with classical arrangements, this event invites audiences to rediscover the Brontë sisters’ poetry in a deeply moving and contemporary way.
Calderdale Energy Park is applying to construct 34 turbines on Walshaw Moor, between Hebden Bridge and Haworth - the village associated with Brontë tourism.As a nine-week public consultation begins, chief executive Christian Egal told objectors that the development would provide "cheap, reliable and stable" energy.Campaigners who oppose the plans for the West Yorkshire moorland said that the wind farm would turn the scenic area into an "industrial complex".The South Pennine moors and Pennine Way have long been associated with writers Charlotte, Emily and Anne Brontë, who were raised at the parsonage in Haworth, now a museum, in the 1840s.Speaking about the literary tourists, Egal said: "They will still come. Of course the turbines will be visible, but it will not affect the number of people visiting Top Withens. We expect the impact on the landscape to be moderate and acceptable for this area."Top Withens is a ruined farmhouse that is thought to be the inspiration for Emily Bronte's 1847 novel Wuthering Heights.Egal added: "Wuthering is an old Norse word that means "high winds", so it's not surprising that the site is very suitable for a wind farm." (Spencer Stokes)
.png)
Wed 8 April, 11am – 4pmBrontë Event Space at the Old SchoolroomCelebrate spring at the Brontë Parsonage Museum! With local artist Rachel Lee, use sustainable natural materials and create your own lovely miniature garden to take home with you.
Online via zoomSome of the most intriguing items in our collection are those made from the Brontës' hair. During the Victorian era hair was often weaved into jewellery for remembrance. Join us for this online event with conceptual artist and historian Donna Lowson, as she guides us through the history of Victorian hairwork and shows us the process of creating hair jewellery. There will also be an opportunity to ask any questions you may have.Donna Lowson is an artist, collector, and former hairdresser whose practice centres on working with human hair to uncover the stories embedded within it. Drawing on Georgian and Victorian hairwork, the 19th-century practice of creating jewellery and keepsakes from human hair, she uses making as a research method to uncover marginalised craft traditions and bring them into contemporary practice. Donna has collaborated with Bankfield Museum, contributing demonstrations and workshops as part of “In Loving Memory,” and ongoing museum collection study visits and hands-on historical research inform her work. She leads workshops that invite participants to experience the cultural, material, and historical significance of hair firsthand.
The Banagher Brontë Group is preparing to celebrate Charlotte Brontë's birthday on Saturday, April 18, in Crank House, Main Street, Banagher, commencing at 3.30pm.The main event of the afternoon will be the world premiere of Brontës: Love and Honour, a melodic tribute to the celebrated 19th century Brontë family of Yorkshire.This cycle of ten studio-recorded songs was written by the well-known composer Michael O'Dowd and his wife, Christine. The cycle relates the joys and sorrows of the family in music and lyrics with linking dialogue and illustrations to provide ambience and clarity.Organisers say this will be a truly delightful and enchanting experience for all attending.The afternoon will also include a 'Miscellany for Charlotte', a session of readings created or chosen by members of the group and others wishing to do so.Following a series of creative writing sessions, a selection of new writings, including poems by pupils from sixth class in St Rynagh's Primary School, are ready for the celebrations.
In the semifinals, Heathcliff and Edward Rochester were eliminated, depriving us of any Brontë sisters in the final round and leaving a championship matchup between Dorian Gray and George Wickham. (Evander James Reyes)
%20(1).v1.jpg)
Wednesday 8 April 2026Performance 1Doors open: 6.30pmPerformance starts: 7.00pm – 7.45pmPerformance 2Doors open: 7.45pmPerformance starts: 8.15pm – 9.00pmThe Brontë Birthplace is delighted to welcome internationally acclaimed Menorcan musician Guiem Soldevila for a rare and intimate recital of Brontë Poems set to music.Guiem has created original musical settings for twelve poems written by Charlotte, Emily and Anne Brontë, transforming their words into a moving performance of voice, piano and instrumental accompaniment. The recital also features expressive contemporary dance, carefully adapted to suit the unique and intimate setting of the Birthplace.Guiem will be performing voice, piano & guitar is accompanied by:Clara Gorrias on voice & fluteNeus Ferri on voice & guitarGeliah performing danceCarme Cloquells performing narrationThese performances will take place inside the café of the very house where the Brontë sisters were born, offering audiences a deeply atmospheric way to experience their poetry in song.To preserve the intimacy of the evening, each performance is limited to just 20 guests.
.png)
Between Two Books (Florence Welch): ‘Villette’ by Charlotte Brontë
Did you know that Florence Welch has a book club? The Florence and the Machine singer periodically shares her book picks with her Between Two Books book club. This season’s pick in Villette by Charlotte Brontë. This lesser-known title from the author of Jane Eyre follows a young 19th-century woman as she leave England to take a teaching job in Belgium.
Villette is “an autobiographical study of solitude and unrequited love,” noted the Between Two Books Instagram. (Megan Elliott)
7. The married Belgian professor Constantin Heger inspired which character in the novel Jane Eyre? (Olav Bjortomt)
In a since-deleted post, the same X user also uploaded a screenshot to the platform of a text conversation with an “industry insider” who alleged that two songs on Charli’s Wuthering Heights album were “ripped” from Ferreira demos dating back to 2018 and 2015. Ferreira responded to those claims via Instagram comments as well, sharing, “Your industry ‘insider’ is wrong. Close but wrong…It isn’t worth the trouble bc I know how the world works.”‘Ferreira is, however, credited as a featured artist, co-writer and vocal producer on Wuthering Heights track “Eyes of the World.” (...)When asked for comment, her management team shared the following statement with Billboard: (...)“Ahead of the Wuthering Heights album release, a standard review process was conducted on a small number of tracks from the album, including fragments of material originating from earlier sessions. This process involved managers, legal representatives, artists and producers, and included a thorough review of archival materials and demo recordings. (Lyndsey Havens)
Fennell tan sólo se interesó en adaptar medio libro y a unos pocos de sus personajes, pero no perdió oportunidad para sembrar sugerencias eróticas visuales y auditivas, así como insinuaciones de bondage y S&M. Lamentablemente, más que una obra estimulante, nos conduce por el terreno del fan fiction calentón, ese universo de fantasías juveniles o amateurs, a la vez morbosas y puritanas, desahogo sin literatura, “plagio” legitimizado y cursilería masturbatoria desenfrenada. (...)Este ejercicio de estilo muestra una obsesión física muy oportuna en tiempos de looksmaxxing, en que todo mundo es bello y nadie quiere tener sexo (aun cuando lo tengan en exceso). Pero lo importante es que nos obliga a preguntarnos qué significa y para qué sirve una adaptación de la literatura al cine (especialmente al tratarse de un clásico). Y la respuesta tal vez es que sirve para ayudarnos a diferenciar el melodrama de la tragedia. (Naief Yehya) (Translation)
On Wednesday, 8 April at 6.30pm, the Boiardo cinema theatre in Scandiano (RE, Italy) will host a special screening of Wuthering Heights 2026, where the audience is invited to knit along, with dimmed lights to keep needles and eyes busy at once. The initiative grew out of a Friday knitting group led by Katia Tosi accoding to Il Resto di Carlino.
I loved Charlotte Brontë’s Wuthering Heights (sic). It’s a classic. I love a dramatic love story and it’s the ultimate bad love story. I love its imagery and its language, the way land is used to depict emotions. I was a cool kid that was with a gang who were robbing cars but reading Wuthering Heights at the end of the day, but I couldn’t tell them. You can't smoke your smokes at the back of the bike sheds while you're reading Charlotte Brontë (sic again).
Teasing becomes taunting, care becomes control and sexy times on the sofa become furious spats over Christmas presents (“You gave me a brooch made of teeth, Albert!”). The relationship is coercive, yes, but perhaps also co-dependent: Victoria’s panic keeps her obedient. A scene in which she reads from Jane Eyre signals the gothic fate which, [Daisy] Goodwin imagines, Albert might have planned for her. (David Jays)
AnneBrontë.org shares an 1853 Easter letter from Charlotte Brontë to Ellen Nussey, in which Charlotte declines a visit due to her duties as a vicar's daughter while also defending Lucy Snowe as a deliberately less idealized heroine than Jane Eyre.
by M.F. RabbiJournal of Pundra University of Science & Technology, Volume-4, Issue-1, January-2025 Issue, p. 61Emily Brontë’s Wuthering Heights is a classic piece of Gothic and Romantic literature from the 19th century, and its plot intricately integrates the characters’ psychological makeup with the physical surroundings. By examining how the geographical surroundings of Wuthering Heights and Thrushcross Grange, in particular, both influence and are influenced by the inner lives and experiences of its residents, this study examines the notions of space and psychogeography in Wuthering Heights. By analyzing these two different settings, this paper makes the case that Brontë reflects social and individual divisions like freedom vs restriction, nature versus civilization, and passion versus repression through spatial dichotomies. According to this account, psychogeography studies how these landscapes function as active agents in the formation of characters’ identities and their intricate relationships rather than just serving as passive backgrounds. This study also looks at how Brontë’s book subverts conventional Victorian ideas of home and belonging by presenting a wild, surreal landscape that represents rebellious impulses and unwavering passions. Characters like Heathcliff and Catherine are depicted as symbols of the untamed and strange moor through the novel’s use of elemental forces, such as storms, winds, and isolation, which blur the lines between the internal and external worlds. This paper traces the influence of place as a dynamic, destabilizing force within Brontë’s fictional world and examines how Wuthering Heights embodies a proto-psychogeographic study that emphasizes the psychological impact of space on human behavior and identity through an analysis of spatial metaphors and imagery. In the end, this paper makes the case that Wuthering Heights’ psychogeographic elements help to depict a world ruled by wild forces and emotional extremes, providing a critique of Victorian social values through its radical reworking of spatial relationships.
by Ouana Alassane Sekongo, Université Félix Houphouët-Boigny, Côte d’IvoireZiglôbitha, Revue des Arts, Linguistique,Littérature & Civilisations Université, n°17, Vol.2 – Mars 2026In nineteenth-century England, Victorianism was an ideology based on the principle that men are more rational than women. As such, it divided the societyinto two distinct spheres, which were the private sphere for women and the public sphere for men. This paper aims to highlight that Brontë coins the character Jane, an educated and defiant girl who subverts these social norms and works hard to enterthe public space just as men. In addition to textual evidence, the article relies on Judith Butler’s (1990) theory of deconstructing gender norms in order to demonstrate how Brontë’s novel questions the Victorian gender system and opens doors for women to express themselves and reveal their talents. The study concludesthat after defying the ideology of Victorianism, Jane has not only got access to formaleducation, but also worked in the public sphere as a teacher. She, therefore, standsas a resilient an emergent girl, serving as a role model for 21st century women.
My favourite classic readsI was soon drawn to the Brontë sisters. It wasn’t just the books, of course, it was also their story. How could you not feel pity at their situation but also envy that they were able to share their writing with their siblings? I have a battered anthology of Jane Eyre,Wuthering Heights and The Tenant of Wildfell Hall right by my desk. Charlotte’s Jane Eyre will always call to me.The writing is deceptively simple but the story fascinating, if chilling, and the heroine, as in so many of their books, ahead of her time.
Chaque semaine, Cinémotions81, association de cinéphiles, vous proposera une programmation choisi par ses membres !Ce mois-ci sera consacré au cycle BRONTË, en partenariat avec l'association J'MLire"Les Soeurs Brontë" (1979, de Téchiné avec Isabelle Adjani, Marie-France Pisier et Isabelle Huppert)le mercredi 1er avril à 18h30le dimanche 05 avril à 14h"Emily" en VOSTFR (2022 avec Emma Mackey)mercredi 08 avril à 18hlundi 13 avril à 20h30mercredi 15 avril à 18hlundi 20 avril à 16h15"Les Hauts de Hurlevent" (2011 avec James Howson, Kaya Scodelario)mercredi 22 avril à 18h (en VF)lundi 27 avril à 20h30 (en VOSTFR)"Les Hauts de Hurlevent" (2026 avec Jacob Elordi, Margot Robbie)vendredi 24 avril à 18h (en VOSTFR) suivi d'un échange d'impressions avec J'MLire et soirée conviviale au bar de l'Apollo !mercredi 29 avril à 18h (VF)lundi 4 mai à 20h30 (VOSTFR)
%20(1).v1.jpg)
Sala Redenção, R. Eng. Luiz Englert, 333 - Farroupilha, Porto Alegre - RS, 90040-040, BrazilApril 6, 3:00 – 6:00pm“O Morro dos Ventos Uivantes”, lançado em 1847, foi o único romance de Emily Brontë. A violência e paixão como retratou a relação entre os personagens Catherine Earnshaw e Heathcliff, na remota e hostil charneca do Morro dos Ventos Uivantes, escandalizou a sociedade vitoriana. Com o passar do tempo, a obra tornou-se um clássico da literatura inglesa e foi várias vezes adaptada para a televisão e o cinema.ç
Wuthering Heights 1992 + Talk with Fatimarlei Lunaderlli
It’s probably fair to say that as a teenager I was overly influenced by the heroines of period dramas. Marianne Dashwood from Sense and Sensibility was my favourite because she is so dreamily romantic — so romantic that she nearly dies for love, and as a cloistered girl in a single-sex boarding school that seemed an appropriate level of drama to me. I was further impressed by the sass of Lizzy Bennet from Pride and Prejudice and Jane Eyre’s inner turmoil. Additionally, I noted with interest, all three were keen walkers.For these women, walking seemed to be a way of dealing with feelings and thrashing out thoughts.
Tell us:The first book you ever remember reading: Jane Eyre
%20(1).v1.jpg)
Edited by Rocío Riestra CamachoDykinson LibrosColección: Escritoras y EscriturasISBN: 9788413775753El lenguaje, como facultad humana idiosincrática, parece haber otorgado a las mujeres una cierta ventaja sobre los hombres a lo largo de la historia. Cuando estas han tenido que vencer, uno tras otro, los desafíos auspiciados por las diferencias, desigualdades y estereotipias de género, la capacidad del lenguaje ha sido para las mujeres una vía alternativa a lo que para los hombres era más fácilmente accesible en términos de poder político, autoría, propiedad o agencia. Concretamente, a lo largo de la evolución, las mujeres han desarrollado una gran potencialidad para el uso de la fluencia verbal y las analogías (Amor Andrés 587), ambas características fundamentales a la hora de crear narrativas y poder poner voz a sus ideas y anhelos. La lengua inglesa ha sido, dada la hegemonía socio geopolítica de los países en los que se utiliza como lengua materna, segunda lengua o bien como idioma extranjero, un vehículo privilegiado para tales fines, y lo cierto es que sigue siéndolo en la actualidad. Estados Unidos, Inglaterra, Irlanda, Escocia o Canadá pero también Puerto Rico o Jamaica son algunos de los territorios en los que nos adentraremos en el recorrido filológico que hace esta obra. Narrativas y voces angloamericanas y gaélicas en clave feminista pone de manifiesto estas realidades, al colocar el foco en un fantástico y variopinto elenco de mujeres a las que la historia y las letras en y de la lengua inglesa no consiguieron silenciar. Comencemos, pues, nuestro viaje.
Reconsiderando y (des)mitificando cuerpos brontëanos a través de narrativas neo-victorianas by Marta Bernabeu Lorenzo
Adaptations have never been obligated to reproduce their sources with documentary precision and to some, it is entirely possible to enjoy a film that misreads its literary predecessor. As I’ve stated before in a review on Guillermo Del Toro’s adaptation of Frankenstein (2025), the question is not simply whether the film works, but what it works as. When a reinterpretation has stripped away major elements that give the classic novel its disturbing force, what remains may still function as an engaging piece of cinema, but only that. In my opinion, Fennell’s film succeeds in theatres, but not on the terms that matter most, and certainly not as Wuthering Heights. (Lily Braumberger)
Wuthering Heights (2026). After two movies with no real plot, Emerald Fennell’s next victim was Emily Brontë’s classic. She turned the gothic novel about class and racism into smutty fanfic. Letterboxd user Allian complained: “Emily Brontë died of tuberculosis 177 years ago, yet this adaptation is still the worst thing that has ever happened to her.” RIP Margot Robbie’s Catherine, you would have loved Fifty Shades of Grey. (Tanya Syed)
Emerald Fennell directs this loose adaptation of the 1847 novel by Emily Brontë. Jacob Elordi and Margot Robbie as Heathcliff and Catherine in the Yorkshire moors, who are bonded by the shared trauma of abuse by her father (an excellent Martin Clunes). But when she is swept up into the world of a wealthy neighbour, Edgar Linton (Shazad Latif), Catherine is torn between the desire for Heathcliff and the chance of stability and wealth. It’s a bold film that divided critics — now it’s your chance to decide from the comfort of your sofa. (Jake Helm and Tim Glanfield)
Today Cox will even go “full Dundee” on a film he hasn’t even seen. I know Laurence Olivier and Merle Oberon’s 1939 film adaptation of Wuthering Heights is a favourite of his and wondered what he made of the new one starring Margot Robbie.“ ‘Keith Cliff! It’s me, Cathy!’ ” he declaims suddenly in a cod Australian accent (Robbie was once in the Australian soap Neighbours). “‘How ya doing, Keith? Awright?’ ‘Yeah, I’m awright!’ ”Cox enjoys a hearty chuckle before composing himself.“Margot Robbie is far too beautiful for that role. I mean, I think there should be something more of the Gypsy about her but it’s wrong of me to judge. It may be a brilliant film.” (Michael Odell)
The radical new version of Emily Brontë's Wuthering Heights uses the real moors of North Yorkshire, South Yorkshire and West Yorkshire, while surprisingly also including a little glimpse of Kent, too. Now find out exactly where.
However, the final piece of the puzzle comes from far off from New York. Part of it came from Michigan as Smith, on the track in one night, yearned for a call from her then-boyfriend but soon-to-be husband, Fred Smith, who was on tour at the time. But really, her masterclass in yearning came from years before and miles away, rooting all the way back to Haworth in Yorkshire, and to Brontë country.The Brontë sisters, and in particular, Emily Brontë’s Wuthering Heights, were by no means a new reference to her in the late 1970s. Instead, this was a book she’d loved since being a kid, but had come to understand better and better with each re-read as she grew up. By 1977, when she was now in her 30s and intensely in love with the man she’d marry, the adoration and emotion written by Brontë in that book took on new life. She was yearning for a man who was far away, just as Cathy and Heathcliff spent a lifetime yearning for one another.With the chorus of a love song on her hands, Wuthering Heights came to mind as the ultimate Patti Smith way to finish it off, allowing her to bring in poetry and literary reference. The result was a huge hit, giving Smith her first commercial smash and Springsteen another victory under his belt.In 2014, Smith wrote a foreword for a new version of the book, musing, “In the writing of Wuthering Heights, she did not give what she wanted; she gave what she had”. It seemed to be the case for her song, too, as her more impassioned tune came together in one night. But her passion is matched by her love for the Brontë’s, as in 2013, she played a concert in the tiny Yorkshire town simply to raise money to keep their home open to the public. (Lucy Harbron)
With a new film adaptation of “Wuthering Heights” now in theaters, interest in Emily Brontë’s iconic novel is once again on the rise. But more than 175 years before the story returned to movie screens, one of its earliest printed forms had already quietly found a home in Buffalo.UB’s Rare Books Collection offers an illuminating window into one of fiction’s most enduring stories — and the lengths one woman went to tell it.The collection holds a first British edition of “Wuthering Heights,” the only novel written by Emily Brontë. Published in December 1847 under the pen name Ellis Bell, the book was issued in three volumes — a common format for British fiction of the period, known as a “triple-decker” novel. While the exact print run of this edition is unknown, it is thought to have been only 250 copies.It is worth noting that “Wuthering Heights” comprises only the first two volumes of the set. The third contains “Agnes Grey,” a novel by Anne Brontë — a reminder that the triple-decker format sometimes bundled works together to meet the required length. (Denise Wolfe)
Mr Rochester and Governess Jane Eyre take the on the polygraph lie detector test in this social media parody.´
Jane Eyre was chosen as the best novel to read on a rainy day, as it is recalled in Parade.
Just in time for wedding season to kick off in earnest, The Drama is released in cinemas today. It joins a formidable canon of disastrous wedding stories stretching back to Victorian marriage novels (remember how Jane Eyre’s nuptials are rudely interrupted by the revelation that Mr Rochester is already married?), via 1930s Hollywood screwballs (there’s a beautiful shot of Claudette Colbert fleeing the altar in Frank Capra’s It Happened One Night, yards of tulle streaming out behind her). (Susie Goldsbrough)
The book I could never read againJane Eyre by Charlotte Brontë. Glad to have met Jane, but I seem to remember the book was quite whingey (forgive me, Brontë congregationalists). It led me to Wide Sargasso Sea by Jean Rhys, which I gladly return to.
Which Brontë sister wrote the novel Agnes Grey?
The brooding atmosphere at Somersby rectory recalls that of the Brontës’ Haworth parsonage, eighty miles due north, and headed by another weapon-wielding, Cambridge-educated clergyman. Like the Brontës, the Tennysons shunned outside company and clung together in what sounds like intense trauma bonding. (Kathryn Hughes)
If you're interested in looking at how a bunch of TikTokers film in Haworth and Bronté country, and you enjoy second-hand cringe, check this post.
%20(1).v1.jpg)
Casa das Histórias Paula Rego, Cascais31 Mar '25 - 31 Jan '26
Partindo do núcleo de obras apresentadas na exposição Meninas exemplares, organizada pela FDL I/CHPR no Museu Grão Vasco, e outras que acompanharam a apresentação do filme de João Botelho As meninas exemplares em vários cineteatros de norte a sul de Portugal, a nova exposição na Casa das Histórias Paula Rego destaca as meninas-mulheres na obra da artista. O título desta exposição remete para o texto literário Meninas exemplares, da Condessa de Ségur (1799–1874), que cativou a artista desde a sua infância. Os contos da Condessa de Ségur e, entre eles, Os desastres de Sofia, editados em Portugal pela Coleção Azul, são por ela lidos avidamente quando ainda criança. Contam as histórias de raparigas bem-nascidas que se portam terrivelmente, causando problemas. (...)A soberania da dimensão psicológica destas meninas-mulheres não depende tanto das histórias de onde são quase sempre resgatadas; muitas vezes, o que exponencia a construção do caráter é a intensificação da sua presença nos desenhos, pinturas e gravuras, quando a solidez da sua matéria corpórea é evidenciada pelo virtuosismo da representação realista. Os corpos revelam vivências e estados emocionais que são expressos através da representação de sensações físicas, colocando-nos diretamente no seu centro afetivo. Exemplar neste aspeto é a última litografia da série “Jane Eyre” (Sala 3), Vem a mim, de 2001–02, que é decisiva para o tratamento psicológico da personagem principal, Jane, sugerindo a sua complexidade, a sua hesitação em aceitar um destino que será sempre, de certo modo, sacrificial. Estas litografias coloridas resultam de uma apropriação transformadora do romance vitoriano da escritora Charlotte Brontë (1816–1855) e destacam o sofrimento, a determinação e o caráter independente da sua protagonista. Tanto nesta série, como na série “Bruxas de Pendle”, inspirada nos poemas homónimos de Blake Morrison (Sala 3), de 1996, há imagens que estabelecem uma poderosa relação entre a natureza feminina e o seu domínio da natureza (Amando Bewick, Pântano de Whinny, por exemplo).
Holed up in their mansion, Great Tomkyns, in Essex, she felt “deserted,” isolated and adrift without her art. It was around this time that she first began to sketch scenes from Wuthering Heights, the book on which she would ruminate for the next three decades of her life.Edna Clarke Hall was certainly not the first or last sensitive bourgeois girl to be creatively consumed by Emily Brontë’s vision of the North. The author’s fictional Gimmerton, with its heavy Northern vernacular, was quite far indeed from sunny Edwardian Essex, with its polite croquet and cucumber sandwiches. “It held me in its grip as no other book ever had,” Hall wrote. “Was it the long lonely days at home, the isolation of the house in the wider setting of the landscape, the beams of Great Tomkyns which I still felt in my bones and which so reminded me of this book?” But it was the relationship between Cathy and Heathcliff that especially obsessed her. At times, Hall would dress up as the characters so as to model their clothes for her sketches. “I lived the characters of Heathcliff and Catherine myself, I simply was them,” she explained. “It was something that had come to pass in a deeply unconscious way. I just had to draw Wuthering Heights.”Imagining the story awoke something in the long-inactive artist. Brontë’s novel served as both an escape from and a reflection of her own unhappy marriage. (Unsurprisingly, there are no drawings dated after her husband’s death in 1932.) In “Heritage of Ages,” Hall described feeling almost possessed by the need to draw its characters. “I drew them all one evening, I was quite alone, Willie was away. I could not stop,” she wrote. She produced the same compositions in many different styles. “I had such a strong feeling for it, I seemed to work under a spell. I did one after the other, scattering the sketches about like a maniac … My obsession with Wuthering Heights was so persistent that for years these drawings used to slide out of my mind with complete ease.”Hall’s devotion to rendering the tortured lovers yielded hundreds of drawings, prints, and watercolors, many of which have been lost or squirreled away in private collections. A selection of her works spent the past decades mostly unnoticed in the collections of the Victoria and Albert Museum in London and the Ashmolean in Oxford—until this spring, when a new illustrated edition of the novel united thirty of Hall’s sketches with the text for the first time. (Sarah Hyde)
Unsurprisingly, World Socialist Web Site has not love the film:Wuthering Heights is a divisive novel. It is, at times, called the “greatest love story of all time,” but rejected as a romance for the depravity of its content at others. At the time of its publication, Anne Brontë (???) often simplified and cushioned its ideas to make it more palatable to the sensibilities of the English audience.(??) (...)An ideal Wuthering Heights adaptation for the modern audience would aim to convey and draw attention to societal concerns similar to how Emily Bronte did. The Victorian problem of race is not much different than our modern one; how does an immigrant assimilate? What must a person of color do in a hostile environment to be respected? What does racism-driven abuse, or even abuse in general, do to a person? How do we break free of those cycles of trauma and anger? They’re all relevant questions!The novel’s cyclical nature could also be used to reflect how repetitive our modern lives often feel, and the Catherine-Heathcliff pairing could serve as a vehicle to explore intersectional issues of oppression and expectation. There is meaningful work that can be done with a novel like this; work that isn’t just entertaining romance, but rather something that carries on the legacy of the original author by addressing real problems and issues while still being undeniably beautiful. (Zoha Quadri)
In other hands, this might be interesting. But Fennell is relatively indifferent to the actual pauperisation of Heathcliff, whose exclusion takes the form of being made a servant. She is more interested in Nelly, because this is an injustice within the middle class milieu she inhabits.Brontë’s primordial passion plays out often inarticulately in the mechanics of land ownership and household establishment. Fennell wants a passion disconnected from its social context. She is trying to create the impression of significance by a rather desperate recourse to ever more superficial effects.Is this all that contemporary audiences can hope or look for in Wuthering Heights? Hardly. Brontë’s visceral and astonishing novel is rooted not just in a brutal landscape, but in a real world of class distinction and savagery that must find reflection in the passions of our daily lives. It is, in this sense, a genuine and exceptional work of art.
Fennell is seeking only the blandest of consolations for a very limited fraction of the upper middle class. Brontë does not exclude consolation, but there is nothing simplistic or simplified in her novel of the emotions. There is far more there than Fennell can find. (Paul Bond)
Love it or hate it, Emerald Fennell's visually hearty take on Wuthering Heights is all her own. (The poster refers to it as "Wuthering Heights," scare quotes and all, to convey that this is a conscious take on Emily Brontë's classic—not a canonical retelling.) One of Fennell's most notable insertions is sex, particularly that between Cathy (Margot Robbie) and Heathcliff (Jacob Elordi). We see Cathy's sexual awakening—she watches people have sex through floorboards and masturbates soon after. And then, in the throes of her secret romance with Heathcliff, there's a montage set to Charli XCX's "Funny Mouth."Cathy and Heathcliff make out in the rain, then in a carriage, and she eventually rides him (in both contexts). He performs oral on her during a sun shower, and she sits on his lap outside among the wily, windy moors. They are almost entirely (and sumptuously!) clothed during these encounters. Later, they have more clothed sex on a table as they discuss Cathy's husband, Edgar, whom she is cheating on with Heathcliff. "This is how you love him?" asks Heathcliff as he thrusts into her. Though brief—and, again, covered up—these scenes were enough to prompt The Economist to blare in a headline: "Sex, sex and more sex." For the stodgy and easily scandalized, Fennell clearly hit a nerve. (Rich Juzwiak)
%20(1).v1.jpg)
Ciclo “Filmes & Livros”Sessão de aberturaO Morro dos Ventos Uivantes(Dir. William Wyler | 1939 | EUA | 103 min | Drama | 12A)Após ser acolhido por uma família rural inglesa, Heathcliff desenvolve uma relação intensa e destrutiva com Catherine Earnshaw. Separados por convenções sociais, seu vínculo obsessivo gera consequências trágicas que se estendem por anos.02/04 | quinta-feira | 16hSala Redenção – Cinema UniversitárioRua Engenheiro Luiz Englert, 333 – campus centro da UFRGS (Via El Matinal)
According to InsightTrendsWorld, "Wuthering Heights [2026] Made the Basque-Waist Dress Fashion's Most Wanted Silhouette". The Yorkshire Evening Post has a sponsored article (and most probaby AI written) above cultural events celebrating the Brontë country this spring. Finally, check out this great diorama showing how the Parsonage area could look around 1845, made by Brontë Parsonage Museum volunteer Paul.
.png)
.png)
